Things

Friday, September 10, 2010

There is another deep running change going on in the dance world

To Gia Kourlas, writer of “Time to put choreography back on its feet”

In the New York Times on Sunday, Sept 5 2010

Thank you to Gia Kourlas for writing an article about what is going on in the contemporary, or experimental, dance. Media takes up this area of creativity very rarely, editors choosing more conservative, classical, or commercial dance to focus on.

A choreographer and dancer, I live and work in the middle of the change in western contemporary dance. It is a pleasure to read weighed words about that slowly churning, but intense, tumult from outside the circle of colleagues. For the art form it is important to have a record of the dialogue in and about it.

There is another deep running change going on in the dance world that Gia Kourlas didn’t mention in their article.

Both in Europe and in North America contemporary western dance is evolving, and dancers’ professional skills are a part of it, whichever way the causality may run. G. Kourlas gives the impression that one reason why new dance pieces “contain so little dance”, is that dancers can’t afford expensive technique classes, or choose yoga or pilates instead, and are thus less skilled than they should be.

Since I see fabulous movers, even virtuosic dancers around me, I was prompted to comment on this idea.

While what Gia Kourlas writes might sometimes be true, there are other reasons for skipping the traditional dance class. Dance technique, as it is taught today, is often dated. In many cases these techniques don’t prepare for the demands of experimenting with movement. Surely the aesthetics of most modern techniques and ballet doesn’t agree with many young and mid-career choreographers. Good, or any, contemporary technique classes might be difficult to find.

Even more pressingly, traditional technique classes are based on dated perceptions about anatomy and kinesiology. Dancers learn from their injuries and gravitate towards training that promises healing and maintenance, along with strength, stamina and flexibility - be it mental or physical.

Like Gia Kourlas writes, we do indeed live exciting times, there is promise in the air, and dance artists are breathing deeply. There are teachers, kinesiologists and dancers that are developing systems of teaching and training that support healthy movement. These dedicated people can be found in different dance disciplines.

I am hopeful that dance training is in the middle of a change of paradigm, slowly but surely. I feel fortunate to live these times, especially because I harbor a love and appreciation for deep rooted traditions, too, ballet most of all.

This development in technique is a very natural thing as sports and dance medicine are both evolving. A related example is the breakthrough in how we perceive running, and how more and more people are starting to run more naturally.

An ongoing evolution, rather than lesser dancers, is the status quo of contemporary dance. And I spy a lot of joy in movement when I work with my colleagues, or when I see their creative output.

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Welcome to my blog!

I make dance performances, and I specifically target subjects that overlap with philosophical queries.

Live art is a meaningful way of researching, challenging, and creating world. We exist as bodily creatures. That is why our interactions in space and time are such an important vehicle of art and research.

On these pages I write my thoughts on choreography. In each project I'm involved in, new aspects of the choreographic process surface.

Organizing these ponderings in blogs will hopefully help me in my work, as well as open new views on the actual performances for the audience members.

Also, I will publish and report on new and past projects.

Photos: Keira Heu-Jwyn Chang

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Minna Harri Experience Set mission statement

Bodie's experience is the basis for Minna Harri's choreographic work.

She is inspired by the ongoing shift of paradigm where scientists and thinkers are starting to understand intellect, emotion, and somatics as inseparable from each other. This has powerful consequences to colonized bodies.

Minna produces work with ensembles under the name Experience Set. This provides opportunities to come together in the creative process and challenges professional performers and creators from different disciplines, cultures and generations.

About Me

I am a choreographer currently based in San Francisco. I have lived in Amsterdam, The Netherlands, and in my native Helsinki, Finland. In addition to studies in ballet, butoh, contemporary techniques, flamenco, tango, and singing, I have studied Performance and Theory in the Finnish Theater Academy. That is a multidisciplinary program that focused on live arts. I am thankful for the guidance by professor Annette Arlander, and Juha-Pekka Hotinen. I finished my studies with a MFA in 2006.
My past projects include choreographies, installations, performances, and essays.

Monday May 9 at University of San Francisco Minna Harri will talk about choreography and her project "Things" specifically. 6.15PM

June 10 & 11: "Like this" an evening of performance curated by Jesse Hewit at Garage, 975 Howard Street San Francisco. 8PM. This evening showcases three performance makers that utilize queer tactics: Maryam Rostami, Peter Max Lawrence and Minna Harri. Part of the National Queer Arts Festival. Minna Harri Experience Set will premiere TOXIC in its entirety. We worked hard since September 2010, don't miss this!

July 14, 15, 16 8PM: Minna Harri Experience Set Residency will culminate in a show @ Garage, 975 Howard Street San Francisco. The much expected next installment of the multi-year Things-project will be premiered. Please be welcome!

Participant in Spring SQUART (March 2010 - part of the winning team, yay!), Pride Squart (June 2010) and Halloween Squart (October 2010) at the Lab in San Francisco, organized by Laura Arrington and The Offcenter.

"Life Sustenance" June 4&5 2010 Subterranean Arthouse. An ensemble piece about the things in life that keep us humans alive.